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About the Story
In July 2024, the fascinating domed Alhambra ceiling was removed from the galleries of the Museum for Islamic Art and dismantled into its individual parts. The removal was necessary because the Pergamon Museum is currently undergoing extensive refurbishment works. All objects must be stored externally for a while. The cupola will now undergo conservation and restoration work and, if necessary, be treated accordingly. It will return to display in the museum’s new permanent exhibition, which is scheduled to open in 2027.
Another story on our online portal takes a closer look at the Alhambra, a fortified palace complex of the Nasrid dynasty in Spain, as well as the cupola’s journey from Granada to Berlin. In this story, we follow the impressive dismantling process and share a preview of the plans for the new exhibition.
Deinstallation Process of the Cupola
The Alhambra Cupola
The cupola with interweaving frames and panels as well as elaborate carvings in the permanent exhibition at the Museum for Islamic Art.
Preparation for lowering the Cupola
The cupola rests on a steel frame and is held up by four steel cables on a steel construction in an enclosure under the museum’s roof. To lower the cupola, the steel cables are released and four hoists are used. Four conservators operate these hoists synchronically in the upper enclosure of the cupola. This is important, since sudden or uneven movements might jeopardise the seemingly solid yet very delicate wooden object.
Lowering the Cupola
A hoist was used to carefully lower the cupola centimetre by centimetre from a height of almost four metres.
On the Ground!
Once on the ground, the cupola is then carefully placed on a previously prepared and rollable steel scaffolding.
On the Ground!
Once on the ground, the cupola is then carefully placed on a previously prepared and rollable steel scaffolding.
First Step of Dismantling
The first step of the dismantling process of the cupola, which is made up of 35 individual components, is the removal of the round central section. This piece serves to hold the entire cupola together. For this step, the consevators work on special scaffolding set up above the cupola.
a supporting substructure
To prevent the 16 trapezoidal components from collapsing, there is a supporting substructure on the rolling frame.
Looking Closer!
A closer look at the back of the cupola reveals exciting observations, such as the carved original carpenters’ marks. These were applied by the craftsmen when the cupola was built in the 14th century to mark the sequence of the components. How much more elegant do they look compared to the numbers painted on later!
Insight into manufacturing Technique
In addition to the original carpenters’ marks, the dismantling process also provides valuable insights into the components’ manufacturing technique. Here, the so-called muqarnas friezes and their composite construction method are visible from the backside.
Close-up, partial view of the backside.
A conservator inspects cupola elements up close
A view from below the cupola
A view from below of the partially dismantled cupola. The special scaffolding for dismantling the trapeziums and the rolling frame on which the cupola rests are visible.
The last of the 16 trapezoids is removed.
Work processes on the corner elements of the cupola.
Post Dismantling
After dismantling the individual elements, only the supporting scaffolding remains on the ground.
Documentation
A precise documentation and labelling of all individual parts is of great importance for the later restoration and reconstruction of the cupola.
Temporary storage of already dismantled cupola elements
Temporary storage of a dismantled cupola element.
Central section
Interim storage of already dismantled cupola elements. The central section is visible in the foreground.
Storage of the dismantled panels
Storage of the dismantled individual panels of the Alhambra cupola in the Museum for Islamic Art. The diagrams on the outside of the boxes show the respective panel in storage labelled in red.
Removal of the trapezes and transport from the gallery.
Our conservator explains the challenging deinstallation process
In the museum's newsletter, conservator Jutta Maria Schwed describes the dismantling process as follows:
“In just under two weeks in July, the Alhambra cupola was the last of our large objects to be deinstalled from its location in the galleries. It was an exciting moment for everyone involved when the entire wooden ceiling, which was supported by a steel frame and suspended at great height by four steel cables, was carefully lowered centimetre by centimetre using four pulley blocks. Once safely on the ground, supported by a customised base frame, each of the 53 components was dismantled with the help of specifically adapted scaffolding and support structures. Work began at the centre section of the cupola. Once this was removed, the 16 trapeziums could be dismantled one by one. This was followed by the friezes with pine cones and shells, the muqarnas friezes and the four corner triangles. Many interesting and previously invisible details, such as the original carpenters’ marks, scoring of the ornament and tool marks, are now visible. The subsequent restoration and accompanying investigations will certainly reveal much more about the construction, technology and original colouring of the cupola.“
The cupola in the focus of a new research project
As part of the deinstallation process, an international experts symposium was held at the museum in September 2024. Topics included questions and concerns regarding technology, restoration, and the future presentation in the new permanent exhibition from 2027 onwards.
Conservator Jutta Maria Schwed, who organised the symposium, exlpains:
“The cupola, richly ornamented with a detailed decorative programme consisting of a filigree wooden framework and carved panels, is a masterpiece of wooden architecture from the Nasrid period in the 14th century. We were joined by experts from Granada, London and Dublin – conservators and art historians as well as the director of the Alhambra. A very intensive and successful exchange and discussion with local conservators regarding the cupola’s original components took place. As such, the symposium constituted a uniqe opportunity: since the cupola has now be lowered for the first time in decades, individual components can be viewed from close distance. The cross-museum collaboration was of great benefit for everyone involved and a continuation in Granada is already in the planning stage. In the following months, the cupola will be restored and the newly acquired knowledge will be incorporated into our ongoing restoration and conservation work. The Alhambra cupola will then be reinstalled in our future exhibition in the Pergamonmuseum’s north wing. It will be on display for visitors from mid-2027 onwards.“
The cupola in the new permanent exhibition
In the Museum for Islamic Art’s new permanent exhibition, the cupola will be the centrepiece of the Gardens of Al-Andalus gallery. The gallery is an invitation to experience the interplay between art and nature with all the senses. Through sight, sound and smell, various aspects such as architecture, poetic inscriptions and gardens of the Alhambra shall be explored. The cupola, together with ist associated sensory contexts, allow visitors to immerse themselves in the palace complex and its stunning views - even if this might look quite different today from the times when the cupola was originally construced.
In addition to the cupola’s history and biography, the importance of trade and technological innovations are also presented in the galleries. Here, Spain’s role as a production centre of lustre ceramics is highlighted. Following the 11th century arrival of dazzlingly iridiscent ceramics specimens from Egypt to the Iberian Peninsula, a highly successful lustreware production industry developed in Spain in the 12th century. Málaga, part of the Nasrid Emirate of Granada, developed into an influential production hub. Eventually, lustreware production spilled over and continued from the Iberian Peninsula into Italy.
Collecting new visual material
By the way: In May 2024, museum director Stefan Weber and curator Deniz Erduman-Çalış traveled to the Alhambra in Granada in order to record visual material for the new exhibition spaces. Together with local partners, a total of twelve hours of film and 1,500 still images were produced, excerpts of which will be shown at the opening of the new permanent exhibition in 2027. Filming and photography took place during the quiet hours early in the morning or late at night without visitors. Here are some impressions of the process.
About the Author
Franziska Kabelitz serves as assistant curator at the Museum for Islamic Art in Berlin. With thanks to Deniz Erduman-Çalış, Miriam Kühn, Farwah Rizvi, Jutta Maria Schwed.
Note: For reasons of consistency, all years and centuries in this article are based on the Christian calendar.
Literature:
- McSweeney, Anna. From Granada to Berlin: The Alhambra Cupola. Dortmund: Kettler publishing house, 2020.
- McSweeney, Anna. Arthur von Gwinner and the Alhambra Cupola. In: Gonnella, Julia and Jens Kröger (eds.): “Wie die Islamische Kunst nach Berlin kam. The collector and museum director Friedrich Sarre (1865-1945).” Berlin: Staatliche Museen zu Berlin / Dietrich Reimer Verlag, 2015.
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